The Marriage of Figaro

Overview – Le Nozze di Figaro (The Marriage of Figaro)

For me, opera begins with Mozart’s Le Nozze di Figaro (The Marriage of Figaro) – the first of three Wolfgang Amadeus Mozart – Lorenzo Da Ponte collaborations (the other two were Don Giovanni and Così fan tutte). Of course there were many operatic masterpieces before this 1786 work, even a couple by Mozart himself (Idomeneo and Die Entführung aus dem Serail, for instance), but there’s something special about Le Nozze, a work that has never been out of the standard repertory. Premiering three years before the French Revolution, Le Nozze is a product of the Enlightenment, a time when reason ruled and liberty, fraternity, and equality were ideals worth fighting for.

Opera Sense recommended recordings of Le Nozze di Figaro:

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Mario Antonio Marra

“The drama is very direct and true,” Mario Antonio Marra on Lyric Opera of Chicago’s Lucia di Lammermoor

With Lyric Opera of Chicago’s production of Donizetti’s Lucia di Lammermoor opening this weekend, we wanted to interview someone who is both intimately involved in the production and has a profound and personal connection with this bel canto masterpiece. Mario Antonio Marra, the pianist for the production, was gracious enough to answer a few of our questions.

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Maria Callas

Maria Callas

The quintessential diva, Maria Callas was renowned not just for her beautiful singing, but also for her superb acting. The short-lived Greek-American star was born in New York City in 1923. She studied music in Greece and first emerged on the operatic stage in Italy. Callas is widely regarded as one of the great interpreters of the 19th-century bel canto technique, singing virtually all the major Donizetti, Bellini, and Rossini soprano roles. A recording of her singing the title role of Puccini’s Tosca in 1952 is still considered the gold standard. In fact, the recording itself has a Wikipedia page.

“Nearly thirty years after her death, she’s still the definition of the diva as artist—and still one of classical music’s best-selling vocalists.” -Opera News, 2006

Maria Callas is “the Bible of opera.” -Leonard Bernstein

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Recitative

What is recitative?

You may have heard the term recitative when you hear people talk about opera, but what exactly is recitative? This is my definition of recitative – any semi-spoken, semi-sung non-repetitive part of an opera that advances the action. Typically, the earlier the opera is, the easier it is to distinguish between recitative and other operatic sections, such as arias or ensemble pieces.

Don’t just take my word for it; listen to the great Leonard Bernstein talk about recitative…

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